FACULTY OF ARTS

English and Cultural Studies

HONOURS /HDR Preliminary Guide 2016

Contents
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STATEMENT OF OBJECTIVES...................................................................................................................4
ELIGIBILITY.............................................................................................................................................4
RESULTS.................................................................................................................................................4
COURSE STRUCTURE..............................................................................................................................5
Seminar units for 2016........................................................................................................................5
The Dissertation..................................................................................................................................5
HOW AND WHEN TO ENROL..................................................................................................................6
Deadlines for enrolment:....................................................................................................................6
How to apply:......................................................................................................................................7
IMPORTANT POINTS TO NOTE:..............................................................................................................7
PLAGIARISM..........................................................................................................................................8
KEY DATES FOR MAY 2016 SUBMISSION.............................................................................................8
KEY DATES FOR OCTOBER 2016 SUBMISSION.....................................................................................9
INFORMATION FOR STUDENTS WISHING TO PRESENT A DISSERTATION IN CREATIVE WRITING.........11
PREPARING THE PROPOSAL FOR YOUR DISSERTATION TOPIC..............................................................11
PREPARING THE PROPOSAL FOR A DISSERTATION TOPIC IN CREATIVE WRITING.................................12
FREQUENTLY ASKED QUESTIONS ABOUT THE DISSERTATION..............................................................12
How do I choose my topic?...............................................................................................................12
How do I know who my Supervisor will be?......................................................................................13
How often should I meet with my Supervisor?.................................................................................13
WRITING THE DISSERTATION...............................................................................................................13
When to start:...................................................................................................................................13
How to start thinking about a topic:.................................................................................................13
Finding a "broad topic area":............................................................................................................13
Choosing a topic:...............................................................................................................................14
Note-taking:......................................................................................................................................14
Drafts:...............................................................................................................................................14
Taking supervision:............................................................................................................................14
The final draft:...................................................................................................................................15
PRESENTATION OF THE DISSERTATION.................................................................................................15
REQUESTS FOR EXTENSIONS................................................................................................................16
EXAMINATION OF DISSERTATIONS.......................................................................................................16
RETURN OF DISSERTATIONS.................................................................................................................16
The following pages give details of seminar units for 2016...............................................................17
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SEMESTER 1, 2016...............................................................................................................................18
ENGL4102: Methodologies (compulsory).........................................................................................18
ENGL4103: Studies in Creative Writing.............................................................................................19
ENGL4105: Case Studies In Modern Literature.................................................................................20
ENGL4108: Special Author Studies....................................................................................................21
SEMESTER 2, 2016...............................................................................................................................22
ENGL4104: Cinema and Cultural Studies...........................................................................................22
ENGL4106: Case Studies in Medieval and Early Modern Literature - Performing Revenge: Tragedy,
Morality, and Wild Justice...............................................................................................................23
ENGL4107: Australian Literary Studies..............................................................................................24
ENGL4109: Literary Studies and the Digital Humanities....................................................................25
HUMA 4001: Feeling the Past: Emotions in History, 1100-1800........................................................26

STATEMENT OF OBJECTIVES

The Honours program is designed to increase understanding of literature and culture through
sustained and close attention to particular texts (including film), key topics and major critical
and theoretical issues, and advanced-level development of research skills, critical skills, and
knowledge of theory and praxis.

ELIGIBILITY

You are eligible for Honours enrolment if you have completed a B.A. (Pass) degree from UWA or
another institution within the last seven years, with grades of 70% or higher in English and

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 other disciplines. (You should normally have 72 points worth of grades over 70%, and the
average of your grades in English must be 70% or higher.)

If you are uncertain about your eligibility, please see the Honours Co-ordinator. Even if
you determine that you are eligible, you must discuss your application with the Honours Co-
ordinator before applying through student connect.

If your B.A. (Pass) is more than seven years old, you will be directed to apply for
entrance to the HDR Preliminary. (Course has a quota.)

RESULTS

Honours results are awarded as:

80-100% First Class Honours (H1)
70-79% Second Class Honours, Division 1 (H2A)
60-69% Second Class Honours, Division 2 (H2B)
50-59% Third Class Honours (H3)
Results for the HDR Preliminary are expressed as:
PQ (Prelim Qualified)
PN (Prelim Not Qualified)

To gain entry to postgraduate studies (MA or PhD) a student would need to obtain a percentage
grade of at least 70%, but postgraduate study is usually most advisable in cases where the
percentage grade is 75% or higher. Students wishing to pursue postgraduate studies in creative
writing must also have normally had work published in order to be admitted to a postgraduate
degree.

Information in this publication was correct as at 14 October 2015, but is subject to change from time to time. In
particular, the University reserves the right to change the content and/or the method of presentation and/or the method
of assessment of any unit of study, to withdraw any unit of study or program, and/or to vary arrangements for any
program.

COURSE STRUCTURE

To complete Honours a student must complete 48 points of study as follows:

by taking four seminar units (each worth 6 points; a total of 24 points)

by writing a dissertation (worth 24 points).

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The 48 points of study can be completed full-time (over one year) or part-time (over two years
or over eighteen months). The dissertation must be completed over two consecutive semesters
(this applies to full-time and part-time students alike).

A full-time student takes two seminar units in each semester; part-time students may spread the
seminar units over two, three, or four semesters.

All students enrolling must take one core unit, ENGL4102 Methodologies.

Seminar units for 2016

These are 6-point units, each worth 12.5% of the final result. These units are offered subject to
staff availability. A minimum enrolment of 8 students is normally required for the unit to
proceed. (If a unit is to be cancelled, students would be notified at least 6 weeks in advance of
the commencement date.)

Semester 1: ENGL 4102 Methodologies AND 1 unit out of the remaining 3 electives:

1) ENGL4103: Studies in Creative Writing and Performance

2) ENGL4105: Case Studies in Modern Literature
3) ENGL4108: Special Author Studies

Semester 2: choose 2 of the 5 electives:

4) ENGL 4104: Cinema and Cultural Studies

5) ENGL 4106: Case Studies in Early Medieval and Modern Literature
5) ENGL 4107: Australian Literary Studies
6) ENGL 4109: Literary Studies and the Digital Humanities
7) HUMA 4001: Feeling the Past: Emotions in History, 1100-1800

Students enrolled in Joint Honours may be granted exemption from taking this unit if they are
enrolled in a similar unit in another discipline.

The Dissertation

The dissertation is worth 24 points (12 points in each of the two consecutive semesters of
dissertation enrolment); it is worth 50% of the final result.

The dissertation is written on an approved topic of your choice, supervised by a staff member.
The word-limit is 12,000-15,000 words.

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Students intending to commence the dissertation in Semester 1 of 2016 must inform the
Honours Co-ordinator of their broad topic area no later than Monday February 15th, 2016. (It is
your responsibility to remember and meet this deadline.)

Deadlines for submission of the dissertation are as follows:

For students completing in Semester 1: Friday 3rd June, 2016

For students completing in Semester 2: Friday 4th November, 2016

No late submissions will be accepted without an approved request for extension.

HOW AND WHEN TO ENROL

Deadlines for enrolment:

Students wishing to commence Honours or HDR Preliminary in Semester 1, 2016 should apply
between Wednesday 23 September 2015 and Monday 1 February 2016.

Late applications will be considered until Monday 1 st of February 2016. See the below for
information on how to apply.

Students wishing to commence Honours or HDR Preliminary in Semester 2, 2016 should enrol
between April 2016 and July 2016 (actual dates TBC). (Late applications will be considered);
see below for information on how to apply.

LATE ENROLMENTS ATTRACT A FEE AND VERY LATE APPLICATIONS MAY NOT BE ACCEPTED.

Planning Your Enrolment:

1) Full-time or part-time?

A full-time enrolment runs over two semesters (one year); a part-time enrolment normally runs
over four semesters (two years) but can be contracted to three semesters (eighteen months).
All students, whether full-time or part-time, work on the dissertation for two consecutive
semesters (normally the final two semesters of their enrolment period).

2) Joint Honours or Cognate Honours?

A Joint Honours degree splits the Honours workload between two disciplines (for example,
English and Anthropology, or English and History). You must be eligible for Honours in each
discipline.

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A Cognate Honours degree involves substituting Honours units to the value of 6 or 12 points
from another discipline for English Honours units of equivalent points-value. (Thus a student
who had majored in English and in Anthropology, and who was eligible for Honours in each
discipline, might choose to enrol for Honours in English, but replacing 6 or 12 points of English
Honours units with 6 or 12 points of Anthropology Honours units.)

IMPORTANT: Students intending to enrol in JOINT HONOURS or COGNATE HONOURS must arrange
to see the Honours Co-ordinator in each discipline to plan their program.

How to apply:

1) Decide whether you wish to enrol full-time or part-time, and whether you wish
to enrol in Honours in English, or Joint Honours in English and another discipline, or
Cognate Honours in English with another discipline.

2) Make an appointment to see the Honours Co-ordinator. This must be arranged 3-

4 days in advance, usually by email, and it is important that you provide your student ID
number in this email. The Honours Co-ordinator will guide you in completing the online
application process. All students are required to discuss their enrolment with the
Honours Co-ordinator; your online application cannot be processed until this has
been done.

IMPORTANT POINTS TO NOTE:

We expect you to have read this information booklet fully and carefully.

Changes to your selection of units must be made to the Honours Co-ordinator in

writing and may require completion of a Special Approval form.

Students are expected to attend classes. (Any changes to texts or timetables or

assessment-methods may be worked out by mutual consent during classes.)

Students writing a dissertation are expected to meet with their supervisor

regularly (at least once a month) and to submit written draft-work regularly, meeting the
Stages-of-Progress deadlines set out elsewhere in this booklet.

Students are not permitted to repeat units for Honours or the HDR Preliminary;
the grades achieved for the units you take will be factored into your overall results so
plan your program wisely.

Students are NOT normally permitted to take Upper Level units as part of their
Honours program. You must select units from those on offer in this booklet.

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 If you have any problems or worries or queries, please come and talk about it!
Were here to help, and usually we can help a lot - but you need to let us know of the
problem and give us time to deal with it. So dont feel that it is an imposition to come and
talk; youll be welcome.

Be aware that you must not recycle material taken from other
assignments. All class papers, essays and dissertations must be new and original
material. If in Honours work you return to a text or topic you have written on
before, there can be no re-use (or even partial re-use) of material. No part of a
submitted essay may form part of your dissertation, and an essay or assignment
presented for assessment in earlier years may not reappear, even in part.

PLAGIARISM

These seminar units, like all ECS units, require the production and submission of original
material - that is, material created by the student with NO unacknowledged debt to some other
writer or source. To pass off written work as your own, whether you have copied it from
someone else or from somewhere else, is to deprive yourself of the real benefits of the course
and to be guilty of plagiarism.

Plagiarism is a serious offence. It is ECS and University policy that plagiarism, the
unacknowledged quotation of material from other people's work, is a ground for failure.

All material taken from published secondary sources must be acknowledged by footnote
references; in addition, all quotation must be acknowledged by the use of quotation
marks, or indentation in the case of longer passages.

KEY DATES FOR MAY 2016 SUBMISSION

ECS expects students to meet the following deadlines as they progress with their dissertation.

10 July 2015 Broad topic area for the dissertation

Inform the Honours Co-ordinator of your broad dissertation topic-area in writing (mail or email)
by this date at latest. The "broad topic area" should include the writers and/or concepts and/or
time-period to be studied - for example, "Postmodernism in Australian fiction of the 1990s" or
"The novels of Jane Austen" or "Theories of comedy applied to Pulp Fiction".

ECS will appoint a Supervisor for your dissertation as soon as possible after you formally
notify us of your broad topic area. This means that supervision is determined to some extent on a
first-come, first-served basis. Meet with your Supervisor no later than the first week of Semester
2 (otherwise the Supervisor may be re-allocated).

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28 August 2015 Formal Topic Proposal
Submit your formal dissertation Topic Proposal by this date. (See following pages for details of
what is required in the Proposal; it is important that your Proposal sets out a chapter-structure
for your dissertation and links this structure with the progress-deadlines set out on this page.) Two
copies of the Proposal are to be submitted: one to your Supervisor and one for the Honours Co-
ordinator.

19 October 2015 Progress deadline: first chapter/section

Submit this material to your Supervisor by this date.

19 November 2015 Progress deadline: next chapter/section

This should be submitted to your Supervisor by this date.

11 February 2016 Progress deadline: next chapter/section

Consult your Supervisor to set a February 2016 deadline-date which takes account of the
Supervisors leave arrangements. At the end of January you will have been working on the
dissertation for 7 of the 10 months available, so you should have around 9000 words of your
dissertation written by February.

7 March 2016 Dissertation Progress Report

A Dissertation Progress Report should be emailed to the Honours Coordinator by this date.
It should be a 1 page report containing:

The final title of your dissertation & Name of your supervisor

Date of expected submission
300 word abstract explaining the argument of the thesis
Any problems regarding progress

30 March 2016 Progress deadline: next chapter/section

This should be submitted to your Supervisor by this date. At the end of March you should have
at least 12,000 words of your dissertation written.

28 April 2016 Progress deadline: full draft completed

By this date you should be able to submit a full draft of the dissertation to your Supervisor.
This should be 12,000-15,000 words in length. You will now have just over two weeks for
revision and careful proof-reading.

Friday 3rd June 2016 Submission

A PDF copy of your dissertation must be emailed to the ECS Coordinator (Ned Curthoys) and
your supervisor by this date. Two bound copies of your dissertation must be submitted to the
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ECS Office. (Joint Honours students writing a joint dissertation must submit two bound copies to
ECS, in addition to the copies required by the other discipline.)

KEY DATES FOR OCTOBER 2016 SUBMISSION

ECS expects students to meet the following deadlines as they progress with their dissertation.

12th February 2016 Broad topic area for the dissertation

Inform the Honours Co-ordinator of your broad dissertation topic-area in writing (mail or
email) by this date at latest. The "broad topic area" should include the writers and/or concepts
and/or time-period to be studied - for example, "Postmodernism in Australian fiction of the
1990s" or "The novels of Jane Austen" or "Theories of comedy applied to Pulp Fiction".

ECS will appoint a Supervisor for your dissertation as soon as possible after you formally notify
us of your broad topic area. This means that supervision is determined to some extent on a first-
come, first-served basis. Meet with your Supervisor no later than the first week of Semester 1
(otherwise the Supervisor may be re-allocated).

28th March 2016 Formal Topic Proposal

Submit your formal dissertation Topic Proposal by this date. (See following pages for details of
what is required in the Proposal; it is important that your Proposal sets out a chapter-structure
for your dissertation and links this structure with the progress-deadlines set out on this page.)
Two copies of the Proposal are to be submitted: to your Supervisor and to the
Honours Co-ordinator.

25 April 2016 Progress deadline: first chapter/section

Submit this material to your Supervisor by this date.

27 June 2016 Progress deadline: next chapter/section

This should be submitted to your Supervisor by this date. At the end June you will have been
working on your dissertation for more than 6 months of the 10 months available, and you
should have produced around 6000 words.

25 July 2016 Progress deadline: next chapter/section

This should be submitted to your Supervisor by this date. At the end of July you should have
around 8000-9000 words of your dissertation written. If this is not the case, you should discuss
progress with your Supervisor as you may be falling behind.
22 August 2016 Dissertation Progress Report

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A Dissertation Progress Report should be emailed to the Honours Coordinator by this date. It
should be a 1 page report containing:

- The final title of your dissertation

- Name of your supervisor

- Date of expected submission

- 300 word abstract explaining the argument of the thesis
- Any problems regarding progress

29 August 2016 Progress deadline: next chapter/section

This should be submitted to your Supervisor by this date. You should by now have at least
12,000 words of your dissertation written.

26th September 2016 Progress deadline: full draft completed

By this date you should be able to submit a full draft of the dissertation to your Supervisor. This
should be 12,000-15,000 words in length. You now have just over two weeks for revision and
careful proof-reading.

Friday 4th November 2016 Submission

A pdf copy of your dissertation must be emailed to the ECS Coordinator (Ned Curthoys) and
your supervisor by this date. Two bound copies of your dissertation must be submitted to the
Humanities Office (Arts) before 4:30pm on this date. (Joint Honours students writing a joint
dissertation must submit two bound copies to ECS, in addition to the copies required by the
other Honours discipline.)

INFORMATION FOR STUDENTS WISHING TO PRESENT A DISSERTATION

IN CREATIVE WRITING

Students presenting a dissertation in Creative Writing will normally be expected to have

completed

ENGL2204: Theory and Practice of Creative Writing or ENGL2501 Creative Writing: Theory and
Practice and/or ENGL2260: Myself and the Aliens or ENGL3501 Autobiographical Narrative
and/or ENGL1113: An Introduction to Creative Writing or ENGL1501 Reading
Creatively/Writing Creatively. Normally a final result of 70% or above will be required in at least
one of these units.

The components of a dissertation in Creative Writing are:

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 An original creative piece (or pieces) amounting to approximately 10,000 words of prose
fiction or 25 pages of playscript or 15 pages of poetry, substantially written during the period of
candidature;

A 3,000-5,000 word essay on a literary/theoretical/cultural issue related to the creative

writing submitted.

The two elements of the dissertation are examined together, with only one overall grade
awarded. Thus, both elements are important, as is the link between the two.

PREPARING THE PROPOSAL FOR YOUR DISSERTATION TOPIC

The Proposal should be around 1200-1500 words in length (including bibliography, timeline,
etc.). Think of the Proposal as an informative letter to your Supervisor, in which you set out your
thoughts and plans concerning the proposed area of study. Your Proposal should normally cover
all or most of the following points:

Chief author(s) or work(s) to be studied

Time-period covered
Critical or theoretical methodologies to be adopted
Major topics or features to be discussed
Units you have studied which may provide you with background for this topic.

Your Proposal must include the following:

Your name and supervisor

A descriptive working-title for the dissertation
A short preliminary bibliography (divided into appropriate sub-headings and
with an asterisk indicating items which have already been read)
A chapter structure (indicating the broad content of each chapter the
authors/texts/issues to be discussed)
A timeline (based upon the Progress Deadlines from the relevant Key Dates
page) indicating submission-deadlines for your chapters (or sections of chapters).

Submit TWO copies of your Proposal (to your Supervisor and the Honours Co-ordinator).

The Proposal is not graded, but submission of a satisfactory Proposal is required for satisfactory
progress in Honours.

PREPARING THE PROPOSAL FOR A DISSERTATION TOPIC IN CREATIVE

WRITING

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The Proposal should outline your proposed creative work in 1200-1500 words, giving an
indication of genre, content, and technique. In a further 200-500 words you should outline the
proposed topic for your 3000-word essay, showing how it links with your creative work. The
outline of the essay should indicate key works to be discussed in the essay; these may be
creative and/or critical and/or theoretical. Think of the Proposal as an informative letter to your
Supervisor in which you set out your current thoughts and considered plans concerning your
project.

Your Proposal must include the following:

Your name and supervisor

A descriptive working-title for the dissertation
A short preliminary bibliography (divided into appropriate sub-headings and
with an asterisk indicating items which have already been read)

A timeline (based upon the Progress Deadlines from the relevant Key Dates
page) indicating submission-deadlines for segments of your work. (The creative
component of your dissertation should be completed by late August, so that the essay
can be written in September; the early weeks of October can then be devoted to revision
and proof-reading.)

Submit TWO copies of your Proposal (to your Supervisor and the Honours Co-ordinator).

The Proposal is not graded, but submission of a satisfactory Proposal is required for satisfactory
progress in Honours.

FREQUENTLY ASKED QUESTIONS ABOUT THE DISSERTATION

How do I choose my topic?

You have a free choice, but its usually wise to work in an area in which you have
developed substantial background knowledge from some of the units you have already
taken. (For example, if youve never studied Australian literature or feminist theory, it
might not be very wise to plan to write your dissertation on feminist aspects of
Australian writing.)

On the other hand, the dissertation can offer an opportunity to carry out substantial
research in a field which has always been of interest to you but which you have never
had the opportunity to study in formal units. (Examples of this kind include detective
fiction, womens romances, science fiction, fantasy, etc.) In such cases, although you may
not have substantial background knowledge from units taken, you would have
substantial knowledge based upon your own reading.

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How do I know who my Supervisor will be?

Once you have a broad idea about your area of study (I want to write on
Dickens unfinished novel or Im interested in the field of postcolonialism), you should
make an appointment to discuss your idea with the Honours Co-ordinator, who will give
you the names of possible supervisors. There will often be two or even three members of
staff who may be appropriate to supervise your topic. We will suggest that you have an
informal chat with each of the people named, then let us know which person seemed to
you to be most appropriate as a Supervisor.

How often should I meet with my Supervisor?

It will vary, for we try to be flexible and to meet student needs. In general,
though, you should not go more than 3 weeks without meeting with your Supervisor.
Once you have written work to present for the supervisors scrutiny, you would probably
meet for about 30-45 minutes every 2-4 weeks.

One other point: if you are going to hand in written work for the supervisor to read and
discuss with you, you should submit this work a week or two before the planned
meeting date. If you want your work to be given careful consideration, please allow the
time for careful consideration!

WRITING THE DISSERTATION

When to start:

The earlier you begin, the easier it will be to choose a topic which suits you and to explore it
thoroughly. Aim to be able to read for the dissertation with some confidence and purpose over
the break between semesters (summer or winter, depending upon when you are commencing).
Its much easier to sustain momentum over the break between semesters than to start cold
when the semester begins, for the early weeks of each semester will bring demands from the
units you're studying.

How to start thinking about a topic:

It will help to speak to a staff member (such as your tutor, or the Honours Co-ordinator) about
your plans. They may be able to assist in your choice of a broad topic area.

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Finding a "broad topic area":

Your "broad topic area" can be a literary period, an author, a single work, a theoretical issue, a
cultural or critical concept, etc. What you need is some definition of your interest clear enough
to permit useful reading of texts which might eventually lie at the centre of your dissertation,
and of works to extend and refine your general understanding of the chosen area. It may not be
profitable to plunge immediately into specialist monographs and journal articles; make an
attempt to establish in your early reading the broader outlines of the area youre considering.
This helps with both the selection and the understanding of more specialised studies later on.

Choosing a topic:

Once you have settled upon a broad topic area (such as Postmodernism in Australian Fiction of
the 1990s or Theories of Comedy applied to Pulp Fiction), you will need to think about the
specific topic you will explore within that area. Remember that your topic must be manageable
in 12,000 - 15,000 words. Consultation with your Supervisor is vital.

Note-taking:

Very important: Always note the exact publishing details of a book, and keep track of the
pagination. Make sure you record details of authors/editors; publisher; place-of-publication;
year-of-publication. When taking a photocopy, write the details on the first page. This saves
much time in the writing-up stage. Record clearly what is quotation (or paraphrase) and what is
not.

Take some notes from anything you read, even if you dont think highly of it. Your opinion might
change later, and you wont have time to read the book or article twice.

Dont just take notes. From an early stage, write more connected, discursive passages about
what youre working on. These are much easier to write when work is fresh in your mind, and
much easier to work from later than jotted notes. Your best ideas are likely to come to you while
youre writing. Even the jotting down of a few connected sentences is worthwhile. You may find
your topic growing out of what you write.

Drafts:

Attempt a first draft early and be prepared to change it. It need not include the introduction. If
youre held up over some problem with the topic, a draft of a chapter or a particular section will
provide a useful test for solving the problem, and should keep your work from stalling. Once you
have begun to write, you will probably feel less awed by specialist studies in the field and you
should be able to read them with more profit.

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Taking supervision:

Make sure you understand your Supervisors comments. Dont incorporate suggestions you
dont understand or disagree with. Try not to write your way around an objection, but to meet it.
In this way you will avoid any sudden gap or reversal in your argument. It usually helps to let a
few days pass between writing something and receiving comment on it; comments can then be
viewed more objectively. Consult regularly with your Supervisor.

The final draft:

Allow plenty of time for this, since ideas will come to you as you write and you will need time to
include them and reshape your work. Final work on footnotes, bibliography, and proof-reading
usually takes considerably longer than expected, so allow for this.

PRESENTATION OF THE DISSERTATION

You are required to email a PDF copy to your ECS Coordinator and supervisor. You must also
submit TWO bound copies of your dissertation to the ECS Office on the due date; Joint Honours
students writing a joint dissertation must submit TWO bound copies to ECS plus other copies to
the other discipline. (Binding can be organised cheaply and speedily through UniPrint at the
UWA Guild Village.)

These copies should observe the following conventions:

Lines of text must be set out with one-and-a-half spacing or double-spacing,

except for quotations and footnotes, which can be single-spaced.
Quotations of three lines or more must be indented.
Leave generous margins all-round the page. We recommend 3cm for the left
margin, 2cm for the top, bottom, and right margins.
Number all pages consecutively.
Paper size: A4.
Ideally footnotes should appear at the foot of the page, but they may be grouped
together at the end of the dissertation, if this is easier.

Divide the thesis into chapters or major sections of some kind.

You should set out the title page of your dissertation as follows:

Your name
Dissertation title
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 Year submitted
Name of your supervisor
Name of the course (BA Honours or HDR Preliminary).

The general order of contents for the dissertation would be as follows:

Title page
Contents page
Dissertation
Bibliography.

The general order of contents for a creative writing dissertation would be as follows:

Title page
Contents page
Creative work
Essay
Bibliography.

REQUESTS FOR EXTENSIONS

Extensions are handled by the Faculty, and requests must be submitted in writing through the
Honours Co-ordinator. (If you are thinking of applying for an extension, you must see the
Honours Co-ordinator first.)

A period of 10 months is available for the writing of the dissertation, and prudent planning
would allow for a proportion of that time to be consumed by illness or other exigencies.
Therefore students applying for an extension would be expected to face exceptional
circumstances.

EXAMINATION OF DISSERTATIONS

Dissertations are marked independently by two examiners, each of whom writes a brief report
on the work. To ensure the high standards and competitiveness of UWA degrees and diplomas,
one of these examiners will be an External Examiner (from interstate or outside UWA). Because
of the involvement of this External Examiner, it is vitally important that dissertations be
submitted to deadline. (You will receive a copy of each Examiners report when you collect your
dissertation.)

RETURN OF DISSERTATIONS

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One copy of your dissertation will be available for collection from the ECS Office, together with
copies of the Examiners reports, normally 6-8 weeks after the scheduled submission date. (The
other copy of your dissertation is held in the ECS archive for 6 years.)

The following pages give details of seminar units for 2016

Please note that each seminar unit is offered subject to (i) staff availability and (ii) a
minimum enrolment of four students.

Each seminar unit will commence with an administrative/introductory session

in Week 1 of the semester in which it runs. (Enrolled students will be notified by mail of
the date and time of the first meeting.)

After the administrative/introductory session in Week 1, there will be one two-

hour seminar each week over 10 weeks. (The dates of these subsequent meetings will be
provided at the first session.)

Specific assessment details for each unit will be available in a Unit Outline
distributed at the first meeting. There are no exams in Honours units, and whilst modes
of assessment will vary from unit to unit, students in each unit will receive a grade of
10% (or more) for attendance and participation (including one or more seminar
presentations).

ECS will email enrolled students with information about the first meeting of
units (as an
Honours student you are expected to check your UWA student email account
regularly), and we will send you other important information by email throughout the
year. If a unit should need to be cancelled, we will inform you of this by email. It is
important to keep the University informed of your current address at all times. If
your address changes, you should notify the ECS Office and the Honours Co-
ordinator immediately (as well as informing UWA Student Administration).

Class-times for these units will be announced approximately four weeks before classes begin
(sooner if possible). Notification will be sent by email so check your UWA email account
regularly (you may be disadvantaged if you do not).

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 SEMESTER 1, 2016

ENGL4102: Methodologies (compulsory)

Honours study in English and Cultural Studies offers an advanced understanding of literature,
writing and culture through the sustained and close analysis of texts, topics and critical and
theoretical issues, and the development of high-level research skills (including preparation of
research proposals and critical bibliographies, acquisition of research materials and
determination of methodological issues).

In particular, successful completion of this unit will enable students to: (i) have a subtler, non-
mechanistic understanding of the practice of reading; (ii) be conversant with current debates
and new paradigms in critical theory; (iii) integrate such concepts into their own critical writing
and reading; and (iv) possess highly developed skills in critical literacy.

Texts: To be advised.

Assessment: Details of assessment will be provided at the first meeting.

Co-ordinator: Assoc. Professor Tony Hughes-D'Aeth

[Room G.14 Arts; 6488 3495; tony.hda@uwa.edu.au]

SEMESTER 1, 2016
ENGL4103: Studies in Creative Writing

All substantial fiction manuscripts, even the most apparently effortless, are the product of
personal fascination with the subject, careful planning, drafting, re-assessment and revision. At
the same time the concerns of potential readers must be taken into account. Fascination with
the subject and initial drafting is comparatively easy. Re-drafting may be demanding. Many
writers find that it is as if the writers attachment to the manuscript must be broken in order for
the objectivity required in re-drafting to take place, then of course it must be re-established so
that the writer can re-engage with the work. The process can be quite isolated and daunting. If
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the writer is lucky this re-assessment is inspired by the advice of astute readers. In a
professional situation these readers are likely to be fellow-novelists, an agent or a publisher. In
Advanced Fiction Writing it is assumed that students wish to work on substantial, even novel-
length manuscripts and our class will perform the role of astute professional readers of one
anothers work.

At the same time as we read one anothers work and offer insight and support to one another,
we will be considering criticism of contemporary fiction and narrative tactics which will be
made available in the Course Reader. How might an experienced novelist manage suspense and
disclosure? How might he or she manage the balance between the detail required to make the
work full and interesting and the need for clarity and momentum in terms of plot or event? How
can we work with history or with the contemporary? How might an adept novelist bend the
rules of continuity within a narrative? How might a novelist who has an urgent political message
position that message within compelling narrative?

In this course we will plan and shape extended works of fiction and we will complete a section
of this work for assessment during the Semester.

Text: Course Reader

Assessment is by:

One story outline that presents the form and subject of the Folio (1,000 words;
20%)

Attendance, preparation and participation, including one written presentation in

which the narrative structure of a set text will be analysed and at least one piece of
fiction which will be distributed prior to the workshop in which it will be discussed
(30%)

One Folio piece (3,000-4,000 words; 50%)

Unit Co-ordinator: Brenda Walker (brenda.walker@uwa.edu.au)

SEMESTER 1, 2016

20
ENGL4105: Case Studies In Modern Literature

This seminar is interested in the shifting coalitions between photography and narrative. Today
photographs are ubiquitous; in his wildest dreams, photography pioneer William Fox Talbot
could not have anticipated selfies, Flickr and Instagram. Hence, it is hardly surprising that they
also make appearances in literature and film, (although the crossing of borders between
photography and narrative has a long history, as this unit attests).

In this unit we will be thinking about a series of issues relating to the creative and political
relationships between photography and narrative, which turn around subjectivity, time, loss,
desire, power, reality, place, affect, history. To do so, we will be studying a sample of films and
written texts that incorporate photographic elementsreal photographs, photograph
techniques, references to photographswith the aim of doing something more than illustrating
the narrative. Considering the conjunctions between photography and narrative offers us the
opportunity to investigate how these forms work to shape both representation and how we
read.

Texts (that we MIGHT study in this seminar) include:

Roland Barthes by Roland Barthes

Annie John by Jamaica Kincaid
Blow Up dir. by Michelangelo Antonioni
Sixty Lights by Gail Jones
Nadja by Andre Breton
Coming Through Slaughter by Michael Ondaatje
(nostalgia) dir. by Hollis Frampton
Berlin Childhood around 1900 by Walter Benjamin
A Seventh Man by John Berger and Jean Mohr
Three Guineas by Virginia Woolf
Rear Window by Alfred Hitchcock

(The text list will be confirmed in first semester, 2016).

Seminar co-ordinator: Tanya Dalziell

Email: Tanya.Dalziell@uwa.edu.au
Telephone: 6488 2120
Office: 1.15 Arts Building

SEMESTER 1, 2016

21
ENGL4108: Special Author Studies

This unit aims to develop a critical understanding of Dickenss writing and reputation. We will
study a selection of his fictional and non-fictional texts, examine his self-construction as an
author and literary professional, and the history of his critical reception.

Dickens is both a widely beloved and a critically esteemed author, whose bicentenary in 2012
was celebrated around the world. This unit combines a close reading of a representative sample
of his fiction and journalism with a consideration of how that reputation has been developed,
examining his own work as author and editor, and the role of literary institutions and influential
readers. Among the institutions of literature to be studied are ideas about authorship itself,
modes of publication such as serials in periodicals and collected editions, literary reviews and
schools of criticism.

One class session will be held in the Special Collections area of the Reid Library, where we will
be able to see some original editions and formats of Dickenss fiction and the periodicals he
edited. The syllabus includes three novels, interspersed with shorter works. We will spend two
seminars on each of the novels, and one seminar for shorter works.

In view of the renowned length of Victorian novels, it is recommended that you read some of the
novels over the summer.

Unit coordinator:

Kieran Dolin (kieran.dolin@uwa.edu.au)

Room G12 Arts Building

Assessment:

One critical exercise: due mid-semester, worth 35%

One research essay: due end of semester, worth 50%
Tutorial presentation and participation: worth 15%

Texts:

David Copperfield (Oxford Worlds Classics edition)

Bleak House (Oxford Worlds Classics edition)
Great Expectations (Oxford Worlds Classics edition)
Unit Reader (contains shorter texts by Dickens and others, and critical readings)

SEMESTER 2, 2016

22
ENGL4104: Cinema and Cultural Studies

In this unit students develop their understanding of key aspects of cinema studies and cultural
studies. They are assigned foundational and current writings in the theory and the critical
practice of cultural studies and film studies, films and other visual media texts, and other
contemporary cultural phenomena. The precise focus of the unit may vary from year to year,
depending on the interests of the available staff, in particular the balance between cinema
studies and cultural studies. The unit offers specialised studies in some of the most significant
and innovative forms and sites of cultural production today, and in the practice and theory of
cultural criticism.

Assessment:

Typically this unit is assessed in the following way(s):

(1) discussion paper;
(2) research essay;
(3) tutorial presentation; and
(4) tutorial participation.

Further information is available in the unit outline

Text list TBA.

Seminar co-ordinator: TBA

Email: ned.curthoys@uwa.edu.au
Telephone: 6488 2107
Office: G.38 Arts Building

SEMESTER 2, 2016

ENGL4106: Case Studies in Medieval and Early Modern Literature - Performing

Revenge: Tragedy, Morality, and Wild Justice

This seminar unit will explore the ongoing resonance of the revenge motif in performance from
the Elizabethan/Jacobean period to the present. This will be through an analysis of the themes,
forms and conventions of a selection of Revenge Tragedy play and film/video texts.

The body of works labelled as Revenge Tragedy problematise often neat divisions between

23
 tragedy and comedy, raise questions of authorship and ownership, and produce an ongoing
debate over the morality of revenge how much, how soon, how often, and so forth. Students
will explore such topics as:
What circumstances may lead individual revengers to forego the justice of gods
or kings, or whatever powers that may be, to enact their own revenge?
Beyond the world of the Elizabethan and Jacobean stages and political contexts,
where does the concept of revenge and its representations sit in the contemporary
world?
When is revenge justified?

Throughout, there will be a strong focus on these texts as performed revenge in action. It
should be recognised from the outset that our access to these texts is mediated by very different
social, moral, and performance contexts to that of the Elizabethans and Jacobeans.

Texts.
The final list of texts will be advised before the start of semester but students will need to
purchase from the bookshop the following texts:
Thomas Kyd. The Spanish Tragedy.
Christopher Marlowe. The Jew of Malta.
Gamini Salgado, ed. Three Revenge Tragedies. Consisting of Tourneurs The
Revengers Tragedy; Middleton/Rowleys The Changeling; Websters The White
Devil.

A Unit Reader will include critical analyses of the set texts, as well as relevant critical material
germane to the subject.

Assessment: Details of assessment will be provided at the first meeting.

Coordinator: Associate Professor Steve Chinna

wa.edu.au ]

SEMESTER 2, 2016
ENGL4107: Australian Literary Studies

This unit offers students the opportunity for specialist studies in Australian Literature. It draws
on innovative approaches to the study of writing and literary institutions in Australia, and aims
to provide a contextualised study of Australian texts. Students will reflect on the shifting
definitions of Australian Literature, on nationalist, revisionist and transcultural approaches to
national literary histories, and on a variety of genres, modes and ideological aspects of
Australian Literature through the close study of a group of texts. The unit will also introduce
students to current debates about methodology in Australian literary studies, and to developing
digital resources of primary and secondary texts.

Assessment: Details of assessment will be provided at the first meeting.

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Meeting Time: To be decided.

Co-ordinator: Winthrop Professor Philip Mead

[Room G.11 Arts; 6488-2434; philip.mead@uwa.edu.au

25
SEMESTER 2, 2016
ENGL4109: Literary Studies and the Digital Humanities

How are digital technologies, new media, computational methods, and electronic resources
affecting research in literary studies? What sorts of research questions are possible now that
millions of books have been digitised? This unit aims to introduce students to the history,
foundational principles and practices, current critical debates, and future directions of digital
humanities as it continues to influence the theory and practice of literary studies.

While this is an advanced studies unit in English and Cultural Studies, students will also develop
a critical understanding of digital humanities (or DH) as a distinct field of inquiry and in
relation to other established humanities disciplines, and become familiar with fundamental
concepts and processes associated with DH research. Topics will include, but are not limited to,
the history of computing in literary studies and the humanities; digitisation of analogue
materials and data remediation; text analysis and data visualisation; digital editions and editing;
GIS, mapping, and virtual reconstructions; digital publishing and scholarly communication;
computational stylistics and authorship attribution; and, distant reading, quantitative analysis,
and new models for literary history.

On completion of this unit, students will be able to (a) critically evaluate digital projects and
resources, (b) understand and apply basic methods associated with DH and assess their relative
strengths and weaknesses, (c) appreciate the development of DH and its impact on literary
studies and traditional humanities more broadly, (d) identify aspects of their own research
amenable to computation, and (e) work independently and as a member of a collaborative
group.

A class session on the digitization of analogue materials will be held in the Special Collections of
the Reid Library, where students will be introduced to the handling of rare books, manuscripts,
and archival materials. A final class session will take the form of a student-run mini conference,
in which students will present 10-minute research papers on an accepted topic followed by 5
minutes for questions and discussion.

Texts

The final list of texts will be advised before the start of semester but students will need to
purchase from the bookshop the following texts:

Thomas Kyd. The Spanish Tragedy.

Christopher Marlowe. The Jew of Malta.

Gamini Salgado, ed. Three Revenge Tragedies. Consisting of Tourneurs The Revengers Tragedy;
Middleton/Rowleys The Changeling; Websters The White Devil.
A Unit Reader will include critical analyses of the set texts, as well as relevant critical material
germane to the subject.

Assessment: Details of assessment will be provided at the first meeting.

Coordinator: Assistant Professor Brett Hirsch
[Room 1.51; 6488 1173; brett.hirsch@uwa.edu.au ]
SEMESTER 2, 2016
HUMA 4001: Feeling the Past: Emotions in History, 1100-1800

Cross-disciplinary Honours elective with English & Cultural Studies, History and
European Studies

The unit is designed in five, two-week modules, with Introduction and Conclusion sessions. The
modules focus on key concepts in the historical understanding, practice and expression of
emotions in European tradition from 1100-1800, using relevant primary sources and significant
secondary references, with reference to historical events that focused intense emotional
energies, for example, the Crusades, the Reformation and the French Revolution. These concepts
are drawn from and illustrated by historical documents, literary and theatrical texts, examples of
visual and material culture, and examples of intellectual discourses on the emotions of various
kinds.

The unit will include examination of the changing intellectual, social and cultural significance of
concepts such as 'love', 'the passions', and 'empathy', and consideration of major conceptual
frameworks within which the role of human emotions have been understood: physiological;
psychological, philosophical/theological, political and popular. Attention will also be given to the
history of 'emotionology': the changing social and cultural regulation of emotional expression.
Attention will be paid to gendered aspects of these fields of enquiry.

As well as emphasising past understandings of emotions, the unit introduces students to a

variety of contemporary theoretical and methodological approaches to studying the history of
emotions. It encourages reflection on the emotional factors that may affect contemporary
understanding of the past, and on the continuing effects of European traditions of emotion in
contemporary emotional life

Texts

The final list of texts will be advised before the start of semester.

Assessment: Details of assessment will be provided at the first meeting.

Coordinator: Professor Andrew Lynch

[Room 1.09; 6488 2185; andrew.lynch@uwa.edu.au ]